This invention relates to resonating end-pin holders for cellos and other string instruments having end-pins, and more particularly to an end-pin holder serving not only to stabilize the instrument with respect to the ground but also to enhance the playing qualities thereof.
The violoncello or cello is the bass member of the violin family and is tuned an octave below the violin. The cello, which is played from a sitting position, is fitted with a projecting end-pin that engages the floor so that the instrument may be held in an almost vertical position. Among other instruments in the violin family also having end-pins or end-rests are the double bass and the gamba. Though the invention will be described in the context of a cello, it is to be understood that a holder in accordance with the invention is applicable to all instruments having end-pins.
In order to resist slippage of the end-pin on the floor as well as to provide a cushioning effect and to protect the floor, it is known to provide a holder that lies on the floor and includes a socket to receive the end-pin. For example, U.S. Pat. No. 2,974,566 discloses an end-rest assembly having a soft-rubber pad formed into a suction cup that attaches to the floor and a socket piece mounted on the pad to accommodate the end pin of the instrument. The sole function of this holder is to anchor the instrument and prevent damage to the floor.
I have found that the end-pin of a string instrument, though necessary to enable playing from a sitting position, has a deleterious effect on the playing qualities of the instrument in that it acts as an acoustic leakage path between the instrument and the ground and thereby transmits vibrations thereto. This leakage dampens and otherwise impairs the tonal characteristics of the instrument. End-pin holders of the type heretofore known do not in any way overcome this drawback.
The loudness or sound amplitude of a cello depends on how strongly the instrument is bowed. If a cello is bowed as strongly as possible, without vibration, and its sound output measured on a sound level meter for each of the notes of the chromatic scale, a curve of sound output vs. frequency may be plotted. This curve is called the loudness curve.
As noted in The Scientific American of November 1974 on "Musical Dynamics" (pages 78 to 95, it is effective dynamic contrast that makes music exciting and for this purpose the minimum requirement is for six dynamic levels in steps of 5 decibels from 0 to 30; that is, a fortissimo 30 db louder than a pianissimo. But experiments conducted at the Massachusetts Institute of Technology demonstrated that cellists were only able to play at dynamic levels ranging from about 3 db to 14 db, thereby depriving the performance of effective dynamic contrast.
I have found that the leakage of acoustic energy which takes place through the end-pin of a cello affects its loudness curve and is of practical significance even when the instrument is played in a small "live" chamber. While the normal volume of sound produced by this instrument in a reflective environment is relatively high, nevertheless the diminution in loudness resulting from leakage adversely affects the playing quality of the instrument. And when this instrument is played in concert on the stage of a large hall, it is desirable from the standpoint both of the player and the listening audience that the cello operate at its maximum acoustic efficiency, for sound emanating from the stage is mainly absorbed rather than reflected in this environment. I have found that the cello and other end-pin instruments do not operate at their maximum acoustic efficiency, so that the requisite dynamic contrast is lacking.